in
los angeles,
1943.
"Throughout the 1940s and 50s, Deren attacked Hollywood for its artistic, political and economic monopoly over American cinema. She stated, “I make my pictures for what Hollywood spends on lipstick,” and observed that Hollywood “has been a major obstacle to the definition and development of motion pictures as a creative fine-art form.” She set herself in opposition to the Hollywood film industry’s standards and practices."
maya deren, meets burial...
In the early 1940s, Deren used some of the inheritance from her father to purchase a used 16 mm Bolex camera. She used this camera to make her first and best-known film, Meshes of the Afternoon (1943), in Los Angeles in collaboration with Hammid. Meshes of the Afternoon is recognized as a seminal American avant-garde film. Originally a silent film with no dialogue, music for the film was composed by Deren's third husband Teiji Itō in 1952
maya deren, meets burial...
In the early 1940s, Deren used some of the inheritance from her father to purchase a used 16 mm Bolex camera. She used this camera to make her first and best-known film, Meshes of the Afternoon (1943), in Los Angeles in collaboration with Hammid. Meshes of the Afternoon is recognized as a seminal American avant-garde film. Originally a silent film with no dialogue, music for the film was composed by Deren's third husband Teiji Itō in 1952
.
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